tag:blogger.com,1999:blog-5569750317755310322.post759061522530286429..comments2015-02-23T05:52:01.784-08:00Comments on Matt vs. the Academy: 1951 - A Streetcar Named DesireMatt Fosterhttp://www.blogger.com/profile/10317583098531787395noreply@blogger.comBlogger1125tag:blogger.com,1999:blog-5569750317755310322.post-45690894252115094022011-01-02T12:35:02.893-08:002011-01-02T12:35:02.893-08:00Happy New Year, Matt. I must admit that I have ne...Happy New Year, Matt. I must admit that I have never been drawn to Tennessee Williams screen adaptations, with their fragile delusional southern women, and have never seen A Streetcar Named Desire until in its entirety until now. Yes, it is over-theatrical and over-wrought and to put it oxymoronically, artificially naturalistic. It is also filled with poignancy, passion and amazing energy. It was luminous.I could smell the pungent perfume and sweat.<br /><br />It is true that Marlon Brando&#39;s performance changed the face of acting in the movies. It&#39;s a smoldering, inarticulate sexual performance. Yet, it is Vivien Leigh&#39;s show all the way. This diminutive, frail British actress gives a performance that stands along side of her Scarlet O&#39;Hara and Meryl Streep&#39;s Sophie at the pinnacle of Best Actress Oscar Winners, in my opinion. Her ramblings aren&#39;t the easiest dialogue to get through, but that&#39;s just Williams style. I guess I&#39;m more of a Hammett/Chandler guy myself. <br /><br />Elia Kazan, who directed this on Broadway, demonstrates why he is perhaps the finest director of actors ever. This is a strong contender for the best of 1951Mike Kellyhttp://www.blogger.com/profile/14953461679716236054noreply@blogger.com